Arts
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strokes that reflect moods and lives He is very much the outcome of his rural cultural heritage. With his overseas travels and exposure to global trends in art, he has acquired a mature personality enriched with an individual vision. His works stand out due to his peculiar idioms and motifs of expression. Kumara hails from Pasyala. A self taught artist, from his childhood his passion was to depict what he saw and perceived in the moods and lives of people, into works of art, to be unravelled and understood by the beholder. Individuality has always been one of Kumara's strong attributes, taking into consideration the varied themes he has focused upon over the years. He has managed to narrate whatever that was called upon for dialogue through his paintings, depicting them within this inimitable style. His paintings vary from politics, religion to metaphysical and personal themes. It is the human figure and the wanderings of the human mind that is the pivot of most of Kumara's works. He paints common people's aspirations, tribulations and simplicities in a poetically philosophical dimension. For him every painting is an aesthetic experience, endeavoring to understand how art is related to what people feel and perceive. Motivated by his need to persuade the viewer to understand the beauty, sensuality and delicate nature of the female form, Kumara has resorted to paint it in a sensuous manner, communicating an aesthetically elevated eroticism, devoid of grossness. Kumara's creative technique of painting on metal surfaces of copper and aluminum projects a talent that possesses the potentiality to stir a sense of new discovery. His mural paintings are seated deep within the recesses of the artist soul. When they emerge into current paintings, they acquire a new incarnation of profound creativity. Some of them too would be on display at the exhibition. A Presidential Award winner Kumara has held many one man exhibitions in Sri Lanka and abroad. He has won special merit awards from the Ministry of Cultural Affairs. A regular participant at the George Keyt Foundation exhibitions, he was selected to be a participant at the International Artist Camp 2003. Kumara Ratnayake the artist has evolved a modern style carved out of his traditional approach to art. His paintings, murals and works of art on metal surfaces rise to a creative height. -Ravi Deraniyagala The
dance has to go on One year later though, there is little progress to report. And plans to establish the Chitrasena Kalayathanaya, a school of dance where the traditions and the techniques would be taught to a new generation are still on the drawing board. "We are now looking to see if we can construct even a stage where we can rehearse with a few dressing rooms," says Upeka, daughter of the dancing legends. That's a far cry from the famed dancing school at Colpetty where hundreds of promising dancers were trained, muses Vajira. The young Chitrasena, newly returned from India established the school in 1944 and it was a centre for the arts attracting the cream of dancers, musicians and drummers until it was forced to move in 1982. Vajira herself was one of those rare early woman dancers and went on to become the company's and indeed the country's star performer. Some in the audience may have recalled those glorious days of the Chitrasena Vajira Dance Company when Berahanda, produced by Vajira was staged at the Lionel Wendt recently. It's not often we see a full-length ballet these days and that too performed with such intensity as Berahanda was. The curtain went up to a programme of dances that preceded the main ballet. Opening the show was 'Yak Bera', performed by drummers Bandara, Susantha, Prasanna and Udaya. The four were to play a prominent role throughout the show and their vibrant performance set the tone for the rest of the evening. The 'Dance of the Hawk' that followed saw the young dancers of the company Thaji, Harini, Randima, Chathu and Ruwani in the spotlight and since pre-publicity for the show had focused on the emergence of the new generation they were keenly watched. The dancers have still some way to go in total mastery of technique but theirs was a delightful performance. The tempo changed when Upeka appeared in 'Bera Nada Chalana', a dance that reflects the rhythmic dance patterns of the up-country and low-country dance forms of Sri Lanka. Here there was abundant energy and technique, a kind of compelling drama as she whirled and leaped to the beat of the drums. Interestingly, this item was choreographed as a gift for her by Vajira, in collaboration with P.M.K. Bandara and Ravibandu, the programme revealed. The section ended with the Ves, the most impressive and skilful of Kandyan dance forms performed by students of Vajira's Preserve the Dance Project in a masterful display, where the interaction between the drummers and their easy rapport contributed much to audience enjoyment. On to Berahanda, a well-executed production where the pace never flagged. From the chief performers God Sakra (Geeth), Prabha (Dilhani), Pansilu (Mahesh) and the Chief Tree Goddess ( Thaji), there was an eloquent portrayal with emotion being wonderfully conveyed. The supporting dancers, the tree goddesses, horses and oxen, even the little bobbins all immersed themselves in their roles. Slight flaws were evident in the lighting which was not spot on and in the positioning of the sets, sometimes not visible to those seated in the extreme corners of the theatre but overall, it was dance drama performed with powerful intensity. One of the most touching sights that night was seeing Chitrasena and Vajira, now sadly past their dancing days watching the performance intently. And when at the finale, Upeka led her mother to the stage and the young dancers made obeisance to their guru, it was a moment to remember. But what of the dance in the new millennium? Will the young dancers who performed so admirably that night be able to sustain tradition and take it to new heights as Chitrasena and Vajira did in their heyday when they toured the world with their dance company as the country's ambassadors, followed later by Upeka? Vajira started the Preserve the Dance Project in 2000, in response to a dire lack of male dancers. The first batch, (many of whom danced in Berahanda) was a success, she feels. "Most of them came from out of Colombo and although they had had some training with other teachers, they learnt our style. I also tried to make them come into society," she says. The second batch however, has not lived up to expectations but she is still hopeful that the next set would be better material, providing a fresh infusion of young talent to the stage. The lack of a permanent place is one of the biggest obstacles the Chitrasena Vajira Dance Foundation faces and this is why their need to have the Park Road school built is so urgent. For the moment classes continue at different venues around Colombo and productions are held but for Vajira and Upeka both, there is deep conviction that this is not enough and there is more to be done to keep the traditions alive. Sponsorship for the arts too is sadly lacking and even a production like Berahanda stretched their meagre resources, Vajira says. But she is adamant that young dancers need the experience of being on stage if they are to be dancers of repute. Upeka agrees. For her, nothing can match the thrill of being on stage. The drummers drive her to new heights and communicating with them is a rare delight. "I can't dance if I can't see them, they are my inspiration," she says. While in the old days, there was always a drummer resident at the Colpetty school (for many years it was Athugoda, better known as Punchigura), now there is little opportunity to practise with the drummers, she says. In those days, the school also conducted classes in all the performing arts for its students, in the belief that a dancer needs to understand and appreciate other disciplines as well. "Chitrasena believed in the full artistic study of all the arts," says Vajira. This is a different era, she concedes and that rigid discipline and dedication which governed their lives is no longer evident in the new generation. But while young dancers cannot devote their lives entirely to the arts those who are sufficiently interested should have the opportunity to further their interest. An extract from the Berahanda programme, penned by some of the young performers of Berahanda (Subha, Thaji, Harini, Chathu, Randima, Manekha and Ruwani) is illuminating. While thanking their teachers who have taught them far more than to 'move their feet', they say that in a competitive world where they can only dance once or twice a week, they cherish the knowledge of the true Lankan traditions they have learnt through dance: "We have learned of hard work and commitment, discipline and responsibilities and matured as students of dance as well as blossomed as individuals through the experiences and lessons we have learned with time. “And in the face of modernization and commercialization we have been taught to keep in touch with our country's vibrant culture and rich traditions that hold the key to its past, present and future.” The need to have the school established in Chitrasena and Vajira's time is best summed up by their grand-daughter Heshma, herself a dancer and a graduate in theatre arts who Vajira hopes can carry on the tradition. Says Vajira, "Heshma always maintains that 'if his (Chitrasena's) spirit is not there, it will not be a proper place'." It surely rests on those who love the arts to take the cue. - Renuka Sadanandan Artists
paint a better world for children The chief guest on this occasion will be the High Commissioner for India, Nirupam Sen and the guest of honour will be Mrs. Marie Alles Fernando. We would all agree that children's welfare is of utmost importance irrespective of race, religion, politics or class. They are a country's greatest wealth. Any organisation which looks after the welfare of children, in any category, be they be orphans, physically or mentally handicapped, abused children, or those in any need needs the public's wholehearted support. The Child Protection Society has since as far back as 1930, protected, sheltered and promoted the development of deprived children. The Society runs two homes - a Boys' Home in Maharagama and a Girls' Home in Rukmale, Kottawa, for children who are orphans, victims of abuse, or from underprivileged families. There are about 45 to 50 children in each home from 5 to 18 years of age. Among the objectives of this society, are the prevention and exploitation of child labour, the removal of children from harmful environments and development of the children in their care to become responsible citizens of the future. The society plays its part to bring up children to be well-rounded individuals with a sense of their own worth. Children can be emotionally damaged if brought up in a joyless atmosphere but when brought up in a happy environment, they become involved, curious, caring, interested in everyone and everything. Their minds become active, alert, and filled with optimism; their brains are then fully equipped to explore and comprehend all human knowledge. There is nothing that pulls at the heartstrings more than a cry of a child, whether in sorrow or excitement. Organisations such as The Child Protection Society, need the support of the public. The grant they get from the government is totally inadequate to meet the needs of the children in their care. Perhaps these words of John Masefield will inspire the public to support this worthy cause. He
who gives a child a treat Soundarie
returns with Masterworks Concert by SOSL Dramatic and technically demanding, the Concerto requires virtuoso playing of a high order. But it has been said 'Grieg paints with notes' and the soloist has to balance bravura display and brilliance with lyrical tenderness to bring out the Concerto's underlying poetry and Grieg's almost impressionistic gift for sound painting. Very active musically, Soundarie's performance in January as recital accompanist to Kishani Jayasinghe at the Lionel Wendt Theatre was widely praised. In July, the Holy Family Convent Bambalapitiya Senior Choir which she directs will compete in the Youth Choir category at the prestigious Ilangollen International Musical Eisteddfod in Wales, the first choir from Sri Lanka to be invited to perform there. The 'Masterworks Concert' by SOSL conducted by Ajit Abeysekera, will open with Wagner's richly orchestrated Prelude to his most widely beloved work, the lyrical opera comedy 'The master singers from Nuremberg'. It will be followed by one of Haydn's 'London' symphonies, the last and finest of his long musical career, the magnificent Symphony No. 102 in B flat whose slow movement sings with one of the most beautiful of all Haydn's melodies. The concert starts at 7 p.m. at Ladies' College. |
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